silverhalide wrote:
Did you modify those cartridges so they could take single perf or did you thread them in that non conventional way? Those films seem short even for 50 feet.
Oh, and did you know that Kiev made 16mm mags that use 1R? I bought some and had them loaded with E100D. They're pretty unreliable. About 50% of the loaded mags produced usable results. They were loaded by Plattsburgh Photo Service. I think the problem was the mags, not the loader. Here are some samples:
silverhalide wrote:
Did you modify those cartridges so they could take single perf or did you thread them in that non conventional way? Those films seem short even for 50 feet.
Oh, and did you know that Kiev made 16mm mags that use 1R? I bought some and had them loaded with E100D. They're pretty unreliable. About 50% of the loaded mags produced usable results. They were loaded by Plattsburgh Photo Service. I think the problem was the mags, not the loader. Here are some samples:
Did not know about kiev 1 perf mags. I borrowed a brown b & h 200 from a friend once. Absolutely loved the feel and smell of it! Had to buy a couple cartridges, then had to make my own cores for them. Did not want to mutilate original cartridges so I loaded my single perf tri-x in that non conventional way. All in all it did not work out well, very unstable image doing it that way. But I could still tell the lens was awesome! I see you used double 8 in those cartridges, did you start out with a roll longer than 25 or 33 feet?
I once set up my Canon 1014E right next to an open car park to shoot some time lapse from across the road. There was one single car in the carpark that was slowly making it's way to the exit near where I was. An old couple were seated in the front and they pulled up right beside me. The elderly driver looked at my Canon 1014E and asked me in a very worried voice: "Is that a speed camera?" I looked at him in disbelief for a few seconds before I replied: "No."
There was another time I was shooting time lapse from a park in the city with my Canon 1014E. My subject was a church and the whole point of the time lapse in this scenario was to record the shadows sweeping across the facade. There happened to be a bench nearby and totally unknown to me at the time, there was a presumably homeless man lying there. I didn't notice him until he got up, walked towards me and asked me if I was filming him. He was very grumpy and irritable. The notion that I was filming him was ridiculous because the lens was not pointed at him or the bench he was lying on. I pretended not to notice him and placed all my attention on my camera. The guy came to his senses and realised that I was shooting the church and walked off.
Many years later, I was on a ferry at sea and decided to shoot a little bit of the journey in time lapse with my GoPro. Within about one second of putting the GoPro on the ground, a fellow passenger to my right springs up from his seat, quickly walks up me and starts questioning me in a serious tone. Though the thing is - the lens of the camera was pointed to the left - straight out to sea with the side of the vessel in view. This guy was seated to my right and yet he was super suspicious of my actions. As I interacted with him, he became less paranoid but he didn't ease up on the questions. There were so many damn questions, it was like the Spanish Inquisition.
Patrick wrote:I once set up my Canon 1014E right next to an open car park to shoot some time lapse from across the road. There was one single car in the carpark that was slowly making it's way to the exit near where I was. An old couple were seated in the front and they pulled up right beside me. The elderly driver looked at my Canon 1014E and asked me in a very worried voice: "Is that a speed camera?" I looked at him in disbelief for a few seconds before I replied: "No."
There was another time I was shooting time lapse from a park in the city with my Canon 1014E. My subject was a church and the whole point of the time lapse in this scenario was to record the shadows sweeping across the facade. There happened to be a bench nearby and totally unknown to me at the time, there was a presumably homeless man lying there. I didn't notice him until he got up, walked towards me and asked me if I was filming him. He was very grumpy and irritable. The notion that I was filming him was ridiculous because the lens was not pointed at him or the bench he was lying on. I pretended not to notice him and placed all my attention on my camera. The guy came to his senses and realised that I was shooting the church and walked off.
Many years later, I was on a ferry at sea and decided to shoot a little bit of the journey in time lapse with my GoPro. Within about one second of putting the GoPro on the ground, a fellow passenger to my right springs up from his seat, quickly walks up me and starts questioning me in a serious tone. Though the thing is - the lens of the camera was pointed to the left - straight out to sea with the side of the vessel in view. This guy was seated to my right and yet he was super suspicious of my actions. As I interacted with him, he became less paranoid but he didn't ease up on the questions. There were so many damn questions, it was like the Spanish Inquisition.
Yeah, what your films look like is basically what one of mine looks like. Why don't you try loading them yourself? Now that you have cameras with a side door instead of back, you can practice with leader to make sure the film doesn't move while the shutter is open. If you bought a 400 foot roll of film, you could probably divide that by 7 and have 57 feet per magazine instead of 50. Could probably do even better than that!
slashmaster wrote:
Yeah, what your films look like is basically what one of mine looks like. Why don't you try loading them yourself? Now that you have cameras with a side door instead of back, you can practice with leader to make sure the film doesn't move while the shutter is open. If you bought a 400 foot roll of film, you could probably divide that by 7 and have 57 feet per magazine instead of 50. Could probably do even better than that!
I tried loading mags and found that I don't have the patience for it. As a result, my mags didn't turn out well. I exposed film, had incorrect loop sizes, and all sorts of things went wrong. For $10, Chris at retrocine.com loads mags perfectly and turns them around nice and quick. I have a bunch 50' mags from retrocine.com in my fridge, ready to go. They contain W200D, Foma R100 and Orwo reversal. But what I really want is TXR. That will be coming from Wittner soon...
slashmaster wrote:
Yeah, what your films look like is basically what one of mine looks like. Why don't you try loading them yourself? Now that you have cameras with a side door instead of back, you can practice with leader to make sure the film doesn't move while the shutter is open. If you bought a 400 foot roll of film, you could probably divide that by 7 and have 57 feet per magazine instead of 50. Could probably do even better than that!
I tried loading mags and found that I don't have the patience for it. As a result, my mags didn't turn out well. I exposed film, had incorrect loop sizes, and all sorts of things went wrong. For $10, Chris at retrocine.com loads mags perfectly and turns them around nice and quick. I have a bunch 50' mags from retrocine.com in my fridge, ready to go. They contain W200D, Foma R100 and Orwo reversal. But what I really want is TXR. That will be coming from Wittner soon...
I see. So what's your favorite 50 foot mag cam, now that you have at least 3? I can see what you like in the Bell and Howell.
slashmaster wrote: I see. So what's your favorite 50 foot mag cam, now that you have at least 3? I can see what you like in the Bell and Howell.
I love the B&H 200. My only complaint is that the spring doesn't last very long on my best (in terms of registration) camera. It's really tricky trying to grab a shot in 12-15 seconds or so. Objects in frame don't always do what they're supposed to. The Revere 36 may be my new best friend. It's got a nice long spring, uses c-mount lenses and B&H viewfinder lenses, and it seems to have good registration. I'll know for sure when I get my second roll of W200D back from Dwayne's this week.
I wish Logmar would make a small 16mm camera. All I want is small size, decent registration and 25+ seconds of run time. Forget about coaxial loading like the Ikonoskop, though. Too hard to load fast in a pinch. And it's got to have a good viewfinder - video is fine.
I wish Logmar would make a small 16mm camera. All I want is small size, decent registration and 25+ seconds of run time. Forget about coaxial loading like the Ikonoskop, though. Too hard to load fast in a pinch. And it's got to have a good viewfinder - video is fine.
Hear hear. Something very compact with 50ft spools would be great.
What about a full displacement system where film can be loaded in daylight but must be unloaded in a changing bag? Camera has a daylight spool for supply and a spindle for take-up. The take-up spindle is close to the supply spool and film path has to pass through faces of supply spool to get to spindle, and this ensures that film on take-up is in same plane as spool. As the supply spool empties, the take-up spindle fills and the film occupies the space in the daylight spool that was previously occupied by film.
silverhalide wrote:
I wish Logmar would make a small 16mm camera. All I want is small size, decent registration and 25+ seconds of run time. Forget about coaxial loading like the Ikonoskop, though. Too hard to load fast in a pinch. And it's got to have a good viewfinder - video is fine.
Considering that Logmar has given up on their own Super-8 after some 50 pieces of beta-production you are not likely to see any other new cameras from them
The Kodak thing was designed in commission. It is nice for restarting the market but convenience wise you will be better off with the usual suspects of the last super-8 cameras. Like Beaulieu 4008,6008,7008, Canon 1014xls, Leicina Special, Nikon R10 etcetera.
silverhalide wrote:What about a full displacement system where film can be loaded in daylight but must be unloaded in a changing bag? Camera has a daylight spool for supply and a spindle for take-up. The take-up spindle is close to the supply spool and film path has to pass through faces of supply spool to get to spindle, and this ensures that film on take-up is in same plane as spool. As the supply spool empties, the take-up spindle fills and the film occupies the space in the daylight spool that was previously occupied by film.
Sounds feasible. Were you thinking of a 100ft spool ?
Although I don't think many people would like the idea of unloading with a changing bag. Maybe have some system where the film rewinds itself back on to the supply spool before you open the camera.
I still think a tiny 50ft spool-loading camera is a good idea. C-mount so you could attach small prime lenses that work with super-16 or ultra-16. And a small monitor screen that folds out. If light enough it could be put on a drone Although your bus driver friend may not approve of this
Gosh ... just thought, you could also dispense with the take-up spool, making the camera even smaller and lighter.
silverhalide wrote:What about a full displacement system where film can be loaded in daylight but must be unloaded in a changing bag? Camera has a daylight spool for supply and a spindle for take-up. The take-up spindle is close to the supply spool and film path has to pass through faces of supply spool to get to spindle, and this ensures that film on take-up is in same plane as spool. As the supply spool empties, the take-up spindle fills and the film occupies the space in the daylight spool that was previously occupied by film.
I am sure if you was do this this Act of changing a film, In a changing bag, in a place of mass transit , The full force of fear and paraniod and the Men in Blue will come your way ?
I agree with you, and I'm sad that I do. Using a changing bag in public is pretty frustrating. When I do it outside my home, I usually make a point of telling nearby people (person at counter in fast food restaurant, desk clerk in hotel lobby, gate agent at airport) what I'm about to do so that I don't wind up having to argue with someone while my hands are in a bag and I can't take them out...
Although your bus driver friend may not approve of this